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Сквозной темой номера является 90-летие классического фильма Сергея Эйзенштейна «Броненосец “Потемкин”». Посвященный юбилею раздел состоит из трех частей. В первой — рабочий дневник ассистента Максима Штрауха, статья оператора фильма Эдуарда Тиссэ и схемы построения мизансцен и мизанкадров, начерченные, видимо, учениками Эйзенштейна по его аналитическим наброскам для учебника «Режиссура». Во второй — рецепция фильма в критике (статьи Луи Арагона, Виктора Шкловского и других). В третьей — исследования современных киноведов Наума Клеймана и Михаила Ямпольского.

Биографически-искусствоведческие статьи Ивана Козленко, Валерия Турицына и Вероники Кондрашиной представляют по-новому увиденные портреты классиков режиссуры 1920–70-х годов Ивана Кавалеридзе, Джозефа фон Штернберга и Луиса Бунюэля.

Рубрика «Проблема» объединяет статью Наталии Арлаускайте «Как сделана “Мэй Уэст”», где предпринимается попытку рассмотреть социально-психологический комплекс понятий, связанных с этой «звездой» Голливуда, благодаря заложенным в нем трем основным элементам трансгрессии: гендерному, расовому и возрастному, и работу Анастасии Алещенко «Крупный план. Физическая и метафизическая природа», посвященную физической  и  метафизической природе крупного плана в кино, а также лицу как его частному случаю.

Архивные разыскания представлены в номере новыми фактами к биографии Юрия Тарича, найденными Игорем Авдеевым, исследованием взаимоотношений «Совкино» и ВУФКУ в 1920-е годы, проведенным Владимиром Миславским, а также осуществленной и прокомментированной Марией Богомоловой первой публикацией либретто «Песчаная учительница», которое является уникальным в своем роде свидетельством теснейшего творческого союза писателя, начинающего сценариста Андрея Платонова и мэтра советской кинодраматургии Виктора Шкловского.

СОДЕРЖАНИЕ

 
  • БРОНЕНОСЦУ–90 (I)
6 Рышард КРЫНИЦКИЙ Броненосец переводчик Вера РУМЯНЦЕВА

7 Максим ШТРАУХ Дневник съемок фильма «Броненосец “Потемкин”»

27 Мизансцены и мизанкадры «Броненосца»

57 Эдуард ТИССЕ Русский кинооператор переводчик Наум КЛЕЙМАН

 
  • РАЗЫСКАНИЯ
61 Игорь АВДЕЕВ Тайна одной буквы. Версия

67 Ксения КОСЕНКОВА «Британия готова». Английская кинопропаганда времен Первой мировой войны

74 Владимир МИСЛАВСКИЙ Взаимоотношения Совкино и ВУФКУ в 1920-е годы

89 Мария БОГОМОЛОВА Первый кинодраматургический опыт Андрея Платонова. История экранизации рассказа «Песчаная учительница»

99 Либретто Андрея Платонова «Песчаная учительница». «Окончательный 6-й вариант» публикатор Мария БОГОМОЛОВА

 
  • БРОНЕНОСЦУ–90 (II)
117 Матрос с «Потемкина» смотрит «Броненосец». Наблюдение за зрителем

122 ЛУИ АРАГОН Броненосец «Потемкин» переводчик Вера РУМЯНЦЕВА

123 Виктор ШКЛОВСКИЙ Броненосец «Потемкин»

128 Михаил ШНЕЙДЕР Великий флагман

138 Адольф РУДНИЦКИЙ Круги переводчик Мирон ЧЕРНЕНКО

142 Виктор ЛИСТОВ «Чтоб эпиграфы разбирать…»

 
  • ОПЫТ И РАЗМЫШЛЕНИЯ
148 Иван КОЗЛЕНКО Кавалеридзе: кино, заключенное в куб

176 Валерий ТУРИЦЫН Джозеф фон Штернберг: начало пути

197 Вероника КОНДРАШИНА Воплощение абсурдистских традиций в творчестве позднего Бунюэля

 
  • ЭЙЗЕНШТЕЙНОВСКИЕ ЧТЕНИЯ
225 Валентин МИХАЛКОВИЧ Эйзенштейн и Базен: смысл сквозь видимость. Выступление в Союзе кинематографистов СССР в 1983 году на Круглом столе, посвященном 85-летию со дня рождения С.М.Эйзенштейна

  Из библиотеки Эйзенштейна

234 Вера РУМЯНЦЕВА «Недаром я бредил Jonson’ом…»

242 «…Свободному человеку». Пал Фейош—Сергею Эйзенштейну. переводчик, публикатор Артем СОПИН

 
  • IN MEMORIAM
246 Максим ПАВЛОВ Памяти Сашо Я.

248 Александр ЯНАКИЕВ Интеллигенция и кино переводчик Юлия КУДРЯВЦЕВА

 
  • СОБЕСЕДНИК
267 «…Я всем обязан Уолту Диснею, он дал мне первый шанс в Голливуде». Интервью с Карлом Столлингом ведут Майк Берриер, Милтон Грей и Билл Спайсер переводчик Татьяна САПЕГИНА

 
  • БРОНЕНОСЦУ–90 (III)
283 Наум КЛЕЙМАН Хлеб наш насущный

308 Михаил ЯМПОЛЬСКИЙ От изображения к образу и понятию

 
  • КИНЕМАТОГРАФ: ЖИЗНЬ И ПРИКЛЮЧЕНИЯ
342 Арман ЧИЛИНГАРЯН Борис Барнет: с любовью из окраины

 
  • ПРОБЛЕМА
347 Наталия АРЛАУСКАЙТЕ Как сделана «Мэй Уэст»

365 Анастасия АЛЕЩЕНКО Крупный план. Физическая и метафизическая природа

 
  • КИНО И ТЕХНИКА
377 Максим КАЗЮЧИЦ Человек, наука и фантастика в научно популярном кинематографе К.И.Домбровского


CONTENTS

SUMMARY

“BATTLESHIP POTEMKIN” TURNS 90 (I)

Maksim SHTRAUKH. “Battleship Potemkin” production diary

“Potemkin”’s mise-en-scènes and mise-en-cadres

Eduard TISSE. The Russian cameraman. Translated by Naum Kleiman

The first part of the section dedicated to the 90th anniversary of Sergei Eisenstein’s classic film “Battleship Potemkin” (1925) includes two documents by members of the film crew: the diary of one of Eisenstein’s assistants, Maksim Shtraukh, and an article by the film’s cameraman, Eduard Tisse, for the German magazine “Filmkritik” (1927). They are supplemented by schemes for constructing mise-en-scènes and mise-en-cadres, which were probably created by Eisenstein’s students based on his analyses drafted for the “Direction” textbook.

EXPLORATION

Igor' AVDEEV. The mystery of one letter. A hypothesis

This account concerns establishing the exact place of birth of the noted Soviet film director of the 1920s, one of the founders of Belarusian cinema Yuri Tarich. Newly discovered facts stress significant changes that the director was forced to make in his biography due to the specifics of the political situation in the 1920s-30s.

Ksenia KOSENKOVA. “Britain is ready”. English film propaganda of the First World War

The article examines political, social, cultural, and, most importantly, cinematic features of state propaganda in the 1910s English cinema.

Vladimir MISLAVSKIY. Relationships between Sovkino and VUFKU in the 1920s

Based on a number of 1920s documents, the author describes the history of a drawn-out conflict between Sovkino and VUFKU, who for several years could not agree on the principles of mutual film distribution. VUFKU was afraid of falling into Sovkino’s subordination and therefore saw their collaboration in the field of distribution only in terms of purchase and sale. Sovkino instead insisted on the mutual exchange of films with subsequent allocation of a fixed percentage from each film’s profit. The normalization of Soviet distribution was only achieved after the State film and photo combine “Soyuzkino” was formed in 1930. As a result, all matters of distribution were centralized.

Maria BOGOMOLOVA. Andrey Platonov’s first film work. The history of “The Sand Teacher”’s film  adaptation

Libretto of “The Sand Teacher” by Andrey Platonov. “Version № 6, final”. Introduction, publication, and commentary by Maria Bogomolova

The text, published here for the first time, is interesting not only as a document from the history of Russian cinema. It is a unique evidence of the close collaboration between the author and beginning scriptwriter Andrey Platonov and the master of Soviet screenwriting Viktor Shklovsky.

The publication is preceded by an article by a Platonov scholar, Maria Bogomolova: “Andrey Platonov’s first film work. The history of “The Sand Teacher”’s film adaptation”.

“BATTLESHIP POTEMKIN” TURNS 90 (II)

A sailor from “Potemkin” watches “Battleship Potemkin”. Observation of a viewer

Louis ARAGON. Battleship Potemkin. Translated by Vera Rumyantseva

Viktor SHKLOVSKY. Battleship Potemkin

Mikhail SHNEYDER. The great flagship 

Adolf RUDNICKI. Circles. Translated by Miron Chernenko

Ryszard KRYNICKI. Battleship. Translated by Anna Mirkes-Radziwon and Vera Rumyantseva

Viktor LISTOV. “To understand an epigraph…”

The second part of our anniversary section shows the “movement” of “Potemkin” through time: a first reaction (commentary by a “Potemkin” sailor and an essay by Louis Aragon), pre-war reflections of Soviet critics Viktor Shklovsky and Mikhail Shneyder, the film’s reception in Poland in the 1960s-70s (an essay by Adolf Rudnicki and a poem by Ryszard Krynicki). The selection concludes with reflections of film scholar and historian Viktor Listov that concern the reasons for and the meaning behind the change of epigraphs to “Potemkin”.

EXPERIENCE AND REFLECTIONS

Ivan KOZLENKO. Kavaleridze: cinema in a cube

According to the author of this essay, which concerns Ivan Kavaleridze and introduces unknown and little-known facts of his biography, the director “made sure his biography retained the same monolithic unity as the filmography he personally constructed; from which he deleted the films that could break the logic of his self-representational strategy as a film innovator and experimenter. The inverted time of personal history that he thus molded preserves carefully hidden lacunas—the only places of truth on which a contemporary scholar of Kavaleridze should rely”.

Valeriy TURITSYN. Josef von Sternberg: the beginnings

The article looks at Sternberg’s early career and specifically at his original debut “The Salvation Hunters”, which was noticed by many of the 1920s experts but was not sufficiently analyzed in terms of its visual complex at the time and later was practically forgotten.

Veronika KONDRASHINA. Traditions of absurdism in the later works of Buñuel

Having decided to “expand the view on the works of Luis Buñuel”, the author analyzes the master’s later films as vivid examples of absurdism. Noting that the absurd can exist on a level of a technique that breaks the logic of meaning (logical absurdism) as well as on a broader level of everyday life, the author uses specific examples to show how the director “creates” the absurd: by constructing a-logical phrases and dialogues, playing with codes, “colliding” metaphors, creating complex structures (dream within a dream, collaged time), and erasing temporal, spatial, and moral boundaries. At the same time the author argues that Buñuel’s later films present an intentional contemplation of reality with a detached eye.

EISENSTEIN READINGS

Valentin MIKHALKOVICH. Eisenstein and Bazin: meaning through appearances. A 1983 speech in the Union of Soviet Filmmakers at a roundtable dedicated to Sergei Eisenstein’s 85th anniversary

The conclusion of this slightly unexpected juxtaposition is quite persuasive: “It is not about proclaiming Eisenstein a forerunner of Bazin, or, on the contrary, Bazin a follower of Eisenstein. By putting together these two names I would first of all like to stress that there are objective laws of the development of art and that every major theoretician, if he is indeed a major theoretician, inevitably moves towards the understanding of these laws”.

From Eisenstein’s library

Vera RUMIANTSEVA. “I was mad about Jonson for a reason…” On a book from Eisenstein’s library

“...to a free man”. Paul Fejos to Sergei Eisenstein. Translation and publication by Artiom Sopin

In T.S.Eliot’s book “The Sacred Wood: Essays on Poetry and Criticism”, Eisenstein marked certain paragraphs in a chapter on Ben Jonson and wrote on the margins: “Potemkin!” Reflections on the connections between the Elizabethan dramatist and Eisenstein’s film form the first essay. The second essay juxtaposes the correspondence between a classic of European and American cinema Paul Fejos (Pál Fejös) and Eisenstein before the latter’s arrival to Hollywood—and a book inscription made before Eisenstein’s return to the Soviet Union.

IN MEMORIAM

Alexander YANAKIEV. Intelligentsia and cinema. Translated by Yuliya Kudryavtseva

The article by our recently deceased Bulgarian colleague examines the points of intersection between Bulgarian intelligentsia of the 1920s-30s and cinema, be they biographical, critical, or ontological.

INTERLOCUTOR

«…I owe everything to Walt Disney; he gave me that first break in Hollywood». Interview with Carl Stalling by Michael Barrier, Milton Gray, and Bill Spicer. Translated by Tatyana Sapegina

Composer Carl W. Stalling (1891–1972) was to a large extent responsible for the formation of the distinctive style of Hollywood’s “golden age” cartoons. He began his career at Walt Disney’s studio and inspired the creation of “Silly Symphonies”. For more than twenty years afterwards he remained the only composer of the Warner Brothers studio cartoons, such as “Looney Tunes” и “Merry Melodies”. In his only surviving interview Stalling talks at length about his work, paying particular attention to the problem of synchronizing music, voice, and image in early sound animation.

“BATTLESHIP POTEMKIN” TURNS 90 (III)

Naum KLEIMAN. Our daily bread

Mikhail IAMPOLSKI. From picture to image and notion. Historical and philosophical notes on a theoretical problem in Eisenstein

The third part of the anniversary section includes texts by contemporary scholars. Naum Kleiman’s article examines the cultural and theoretical context of the scene with a decorated plate from “Battleship Potemkin” and the image of Discobolus tied to it. The essay by Mikhail Iampolski deals with the connection between political and aesthetic aspects of the formation of an image.

CINEMA: LIFE AND ADVENTURES

Arman CHILINGARYAN. Boris Barnet: from periphery with love

The article talks about the work of the Soviet film classic at the Erevan film studio at the end of the Second World War and is supplemented by the publication of Barnet’s drawings.

PROBLEM

Natalija ARLAUSKAITĖ. How “May West” is made

The image of the Hollywood star May West is discussed as a “May West” text, retrospectively appropriated by feminist film theory and certain subcultures (in particular, the gay camp culture). We are able to reread the “May West” complex because of its three main elements of transgression: the gender one, the racial one, and the age-related one. The author describes the article’s slogan as “back to narratology” or “forward to cult value” and traces the main aspect of “May West”, “the kunstkammer of repetition”, which is embodied in various modes of excess.

Anastasia ALESHCHENKO. Close up: its physical and metaphysical nature

The article is based on the author’s bachelor’s thesis at the Russian State Institute of Cinematography (VGIK) and concerns the physical and metaphysical nature of close up in cinema, with face as its example.

CINEMA AND TECHNOLOGY

Maksim KAZYUCHITS. Man, science, and sci-fi in popular science cinema of K.I. Dombrovskiy

The author examines the career of a well-known director of popular science cinema Kirill Dombrovskiy who remained in the history of Russian culture as an engineer, a developer, a director, a scriptwriter, and an author. His most important works Dombrovskiy produced at “Tsentrnauchfil'm”. He experimented with new film systems, made panoramic, wide screen, wide gauge, varioscope/polyframe and cinerama films, and invented new devices.

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